Pulls and conforms, built from the cut.
Origami builds the VFX pull and the conform from the cut. Only the frames it uses move, and the colour and the metadata travel with them.
Book a demoHow it is done today
Three jobs, three people, a day. Or one job.
Finding the media, building the shots and sending them on are three jobs today, each with its own tools and hours of hands-on work. With Origami you set it up once, and each turnover after that is one job, submitted from the cut.
- Today
- Today one turnover is three jobs, each with its own person and its own tools, and every step is done by hand while the day goes by.
- With Origami
- With Origami you set up the vendor’s folders, colour, format and destination once, then submit each turnover from the cut as one job.
The pull and the conform
Two jobs from one cut.
Only the frames the cut uses move, and the colour and the metadata travel with them. The pull goes to the vendor as EXR frames with the colour beside them; the conform copies the camera original in its own codec.
- VFX pull
- The VFX pull: each marked shot becomes numbered EXR frames with handles, with the CDL and LUT beside them, checked by Iris and packaged for the vendor.
- Conform
- The conform: only the frames the cut uses are copied from the camera roll, in its original codec, with the colour and the metadata.
Read once. Carried the whole way.
Scene, slate, take, the CDL colour decision, the LUTs, the lens data. Origami reads it once off the media, binds it to every clip, and carries it from the camera through editorial, VFX and finishing. Nobody re-keys it, and DI stops chasing mismatches.
Open standards: OpenTimelineIO · ASC CDL · Cooke /i · MovieLabs OMC JSON
Bandwidth, egress, storage and schedule
The cut asks for about 10% of what was shot.
Origami moves only those files, and then only the frames they use. The two multiply: about 1% of the media leaves, a transfer 99% smaller, and the work at the far end starts sooner.
One delivery, and that is all that moves
about 1%
Two reductions, one after the other. Around 99 percent of the data never leaves the storage it was already on.
Work starts sooner
A far smaller transfer finishes far earlier, and completed shots can be downloaded as they land rather than when the whole job finishes. The vendor starts on the first ones while the rest are still arriving.
Less bandwidth
The line you already have stops being the thing that decides your schedule.
Better cloud value
Cloud storage bills you for what leaves the bucket. Far less leaves it, and nothing is parked on-prem just in case.
Less storage
The vendor at the far end stores the frames of the cut, not the whole roll.
How far it goes depends on the turnover. What does not change is the shape: you move the files the cut names, cut to the frames it uses, and everything else stays where it already was.
So the negative is never touched
We trim the camera original itself.
Origami copies out only the frames in the cut, in the file’s own codec, without re-encoding. Twelve picture formats and the production sound. The rest of the roll never leaves your storage, and the negative is never touched.
And the production sound
Avid Op-Atom arrives off the broadcast server as separate files: the video, and each audio track on its own. Origami trims and conforms them together and re-stamps the UMID, so Media Composer re-groups them as one master clip.
Production sound is cut the same way, inside the RIFF container itself, with nothing re-encoded.
The essence is copied out in its own codec. The trimmed frames are the original frames.
Questions about pulls and conforms
Take Origami for a spin with your own material.
A twenty-minute demo on a call, then a demo account on your own footage: pulls, conforms, deliveries, colour carried with the frames, and your AI assistant driving it.